"That's what everyone said attracted them to Lantana - I call it an adult mystery, because it's not a thriller in the sense of that other way, but it is a mystery"
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Hershey is doing a careful bit of expectation management, the kind actors learn when they’ve spent decades watching audiences arrive with genre baggage. By calling Lantana an “adult mystery,” she’s not puffing it up with prestige so much as redirecting the viewer’s hunger: don’t come for jump-scares or clockwork plot twists, come for the uncomfortable pleasure of watching grown-ups fail at intimacy while pretending they’re fine.
The phrase “that’s what everyone said attracted them” is telling. She’s reporting a consensus but also slightly bristling at it, as if “mystery” is the easiest marketing handle people grab when a film is quietly complex. Her correction - “I call it” - stakes a claim for a different kind of suspense. The mystery isn’t Who did it? but What are these people doing to each other, and why can’t they stop?
“Adult” does double duty: it flatters the audience and signals a tone of moral ambiguity. This isn’t adolescence-as-metaphor; it’s the messy middle of life, where betrayal is rarely cinematic and shame has paperwork. Hershey’s contrast with “thriller” draws a boundary against sensationalism. She’s pointing to a story where tension comes from emotional withholding, from the ordinary evasions couples build whole lives around.
In context, it also reads like a defense of films that trust silence and implication. Hershey frames Lantana’s appeal as recognition: viewers sense a puzzle, but the solution won’t be a tidy reveal so much as a bleak, clarifying look at how people disappear from one another while still sharing a bed.
The phrase “that’s what everyone said attracted them” is telling. She’s reporting a consensus but also slightly bristling at it, as if “mystery” is the easiest marketing handle people grab when a film is quietly complex. Her correction - “I call it” - stakes a claim for a different kind of suspense. The mystery isn’t Who did it? but What are these people doing to each other, and why can’t they stop?
“Adult” does double duty: it flatters the audience and signals a tone of moral ambiguity. This isn’t adolescence-as-metaphor; it’s the messy middle of life, where betrayal is rarely cinematic and shame has paperwork. Hershey’s contrast with “thriller” draws a boundary against sensationalism. She’s pointing to a story where tension comes from emotional withholding, from the ordinary evasions couples build whole lives around.
In context, it also reads like a defense of films that trust silence and implication. Hershey frames Lantana’s appeal as recognition: viewers sense a puzzle, but the solution won’t be a tidy reveal so much as a bleak, clarifying look at how people disappear from one another while still sharing a bed.
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| Topic | Movie |
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